Singer Barry Gibb has credited his wife with encouraging him to embark on a solo tour following the death of his brother Robin last year (12). The Bee Gees star was plunged into a deep depression after Robin lost his battle with cancer last May (12), leaving Barry as the last surviving Gibb brother.
Gibb, who also lost his brothers Andy in 1988 and Maurice in 2003, admits he struggled to cope with the loss until his wife Linda told him to tackle a tour in memory of his beloved siblings.
He tells Britain's The Sun, "This is all down to my wife. She told me to get off my backside and stop going along with the whole idea that everything was finished for me. She said, 'You've got music, so make music!' That was her kicking me, so I decided to jump right in."
Gibb sold out every date of his Mythology Tour in Australia earlier this year (13), and admits he carried on the Bee Gees' family tradition during the trek by inviting his eldest son Stephen to play guitar and Maurice's daughter Samantha to sing with him onstage.
He says, "I have a fantastic band and Sammy jumped in and my eldest, Stephen, too. We created this show that really celebrates everything we ever did, or as much as we could put in to a show. I feel good. I felt a lot worse last year with all the stress over Robin."
Gibb is bringing his concerts to the U.K. with shows planned for Birmingham, Manchester, and London, England later this year (13).

From Bond to Frankenstein: On the heels of their movie Skyfall, the film’s co-writer John Logan and director Sam Mendes are headed to Showtime with a high-concept drama project. The untitled drama is described as a psychological horror drama series with literary underpinnings, including Dr. Frankenstein and his creature, set in the 1800s. This would mark both Logan and Mendes’ series debut. [Deadline]
Saturday Night Detectives? Fox has given a pilot order to an untitled Andy Samberg comedy project. The pilot, about a diverse group of detectives at a New York precinct, will be executive produced by Parks and Recreation executive producer Dan Goor and co-creator/showrunner Mike Schur. David Miner also will executive produce, with Samberg producing. [THR]
Gaffigan Playing a Version of Himself: CBS has ordered a pilot starring Jim Gaffigan. The comedy from Peter Tolan (Rescue Me) and Gaffigan would feature the comedian as a happily married father of five, “just as he is in real life,” CBS says. It will be a single-camera comedy. Other executive producers are Michael Wimer and Alex Murray. [EW]
Always a Bridesmaid, Now a Mother? Bridesmaids co-star Wendi McLendon-Covey has been cast as the female lead of ABC’s untitled Adam F. Goldberg single-camera comedy pilot (formerly How the F Am I Normal), written by Goldberg and to be directed by Seth Gordon. Inspired by Goldberg’s experience growing up in the ’80s with a highly screwed up but loving family, the show is a family comedy set in the ’80s that centers on an in-your-face mother and hot-tempered father who love their three eccentric kids so much, they can’t bear to see them grow up. McLendon-Covey will play the mother, Beverly Gold, a dedicated mom and an overbearing hyper-emotional shopaholic with no sense of boundaries and a big mouth that she’s not afraid to use. [Deadline]
More Wives for Lifetime, Plus a Singing Husband: Singer/actor Jesse McCartney has booked a recurring role on the upcoming seventh season of the Lifetime drama Army Wives. The singer/actor will play Private Tim Truman, a young, eager and enthusiastic soldier determined to prove himself on his first deployment, and the husband to high school sweetheart/new series regular Elle McLemore's farm girl Holly Truman. Lifetime is also developing a remake of the BBC drama Prisoners' Wives. The drama, from Endemol Studios, is based on the Tiger Aspect format about four different women, each struggling to cope with a man in her life serving prison time. [THR, THR]
Follow Sydney on Twitter @SydneyBucksbaum
[PHOTO CREDIT: Wenn]
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While the annual Sundance film festival continues to be a place that launches young filmmaking talent, over the years it's also become a star-studded publicity machine attracting big names looking to debut their new films. The list of celebs attending the 2013 festival for the out-of-competition premieres of their new movies should not disappoint.
The most anticipated premiere won't happen until the end of the festival, when the Steve Jobs biopic jOBS, starring Ashton Kutcher as the Apple guru, is honored as the closing night film.
Oscar-winning screenwriters (and sometime sitcom stars) Nat Faxon and Jim Rash will make their directorial debut with a film they wrote called The Way, Way Back, starring Steve Carell and Toni Collette.
Joseph Gordon-Levitt will take it one step further by starring in his self-penned directorial debut, DonJon's Addiction, alongside Scarlett Johansson and Julianne Moore.
There's also Lovelace, with Amanda Seyfried as the titular '70s porn star, the third union of Ethan Hawke and Julie Delpy in Before Midnight, and Jane Campion's six-hour epic Top of the Lake, among many others.
The documentaries premiering out of competition cover diverse topics, including Wikileaks, Jeremy Lin, multiple sclerosis, Dick Cheney and more.
The 2013 Sundance Film Festival runs from Jan. 17-27, 2013.
2013 PREMIERES
A.C.O.D. / U.S.A. (Director: Stuart Zicherman, Screenwriters: Ben Karlin, Stuart Zicherman) — Carter is a well-adjusted Adult Child of Divorce. So he thinks. When he discovers he was part of a divorce study as a child, it wreaks havoc on his family and forces him to face his chaotic past. Cast: Adam Scott, Richard Jenkins, Catherine O'Hara, Amy Poehler, Mary Elizabeth Winstead, Clark Duke.
Before Midnight / U.S.A. (Director: Richard Linklater, Screenwriters: Julie Delpy, Ethan Hawke, Richard Linklater— We meet Jesse and Celine nine years on in Greece. Almost two decades have passed since their first meeting on that train bound for Vienna. Before the clock strikes midnight, we will again become part of their story. Cast: Ethan Hawke, Julie Delpy, Xenia Kalogeropoulou, Ariane Labed, Athina Rachel Tsangari, Seamus Davey-Fitzpatrick.
Big Sur / U.S.A. (Director and screenwriter: Michael Polish) — Unable to cope with a suddenly demanding public and battling advanced alcoholism, Jack Kerouac seeks respite in three brief sojourns to a cabin in Big Sur, which reveal his mental and physical deterioration. Cast: Jean-Marc Barr, Kate Bosworth, Josh Lucas, Radha Mitchell, Anthony Edwards, Henry Thomas.
Breathe In / U.S.A. (Director: Drake Doremus, Screenwriters: Drake Doremus, Ben York Jones) — When a foreign exchange student arrives in a small upstate New York town, she challenges the dynamics of her host family's relationships and alters their lives forever. Cast: Guy Pearce, Felicity Jones, Amy Ryan, Mackenzie Davis.
Don Jon's Addiction / U.S.A. (Director and screenwriter: Joseph Gordon-Levitt) — In Joseph Gordon-Levitt’s charming directorial debut, a selfish modern-day Don Juan attempts to change his ways. Cast: Joseph Gordon-Levitt, Scarlett Johansson, Julianne Moore, Tony Danza, Glenne Headly, Rob Brown.
The East / U.S.A. (Director: Zal Batmanglij, Screenwriters: Zal Batmanglij, Brit Marling) — An operative for an elite private intelligence firm goes into deep cover to infiltrate a mysterious anarchist collective attacking major corporations. Bent on apprehending these fugitives, she finds her loyalty tested as her feelings grow for the group's charismatic leader. Cast: Brit Marling, Alexander Skarsgård, Ellen Page, Toby Kebbell, Shiloh Fernandez, Patricia Clarkson.
The Inevitable Defeat of Mister and Pete / U.S.A. (Director: George Tillman Jr., Screenwriter: Michael Starrbury) — Separated from their mothers and facing a summer in the Brooklyn projects alone, two boys hide from police and forage for food, with only each other to trust. A story of salvation through friendship and two boys against the world. Cast: Skylan Brooks, Ethan Dizon, Jennifer Hudson, Jordin Sparks, Anthony Mackie, Jeffrey Wright.
jOBS / U.S.A. (Director: Joshua Michael Stern, Screenwriter: Matt Whiteley) — The true story of one of the greatest entrepreneurs in American history, jOBS chronicles the defining 30 years of Steve Jobs’ life. jOBS is a candid, inspiring and personal portrait of the one who saw things differently. Cast: Ashton Kutcher, Dermot Mulroney, Josh Gad, Lukas Haas, J.K. Simmons, Matthew Modine. CLOSING NIGHT FILM
The Look of Love / United Kingdom (Director: Michael Winterbottom, Screenwriter: Matt Greenhalgh) — The true story of British adult magazine publisher and entrepreneur Paul Raymond. A modern day King Midas story, Raymond became one of the richest men in Britain at the cost of losing those closest to him. Cast: Steve Coogan, Anna Friel, Imogen Poots, Tamsin Egerton.
Lovelace / U.S.A. (Directors: Rob Epstein, Jeffrey Friedman, Screenwriter: Andy Bellin) — Deep Throat, the first pornographic feature film to be a mainstream success, was an international sensation in 1972 and made its star, Linda Lovelace, a media darling. Years later the “poster girl for the sexual revolution” revealed a darker side to her story. Cast: Amanda Seyfried, Peter Sarsgaard, Hank Azaria, Adam Brody, James Franco, Sharon Stone.
The Necessary Death of Charlie Countryman / U.S.A. (Director: Fredrik Bond, Screenwriter: Matt Drake) — Traveling abroad, Charlie Countryman falls for Gabi, a Romanian beauty whose unreachable heart has its origins in Nigel, her violent, charismatic ex. As the darkness of Gabi’s past increasingly envelops him, Charlie resolves to win her heart, or die trying. Cast: Shia LaBeouf, Evan Rachel Wood, Mads Mikkelsen, Rupert Grint, James Buckley, Til Schweiger.
Prince Avalanche / U.S.A. (Director and screenwriter: David Gordon Green) — Two highway road workers spend the summer of 1988 away from their city lives. The isolated landscape becomes a place of misadventure as the men find themselves at odds with each other and the women they left behind. Cast: Paul Rudd, Emile Hirsch.
Stoker / U.S.A. (Director: Park Chan-Wook, Screenwriter: Wentworth Miller) — After India's father dies in an auto accident, her Uncle Charlie comes to live with her and her mother, Evelyn. Soon after his arrival, India suspects that this mysterious, charming man has ulterior motives but becomes increasingly infatuated with him. Cast: Mia Wasikowska, Matthew Goode, Dermot Mulroney, Jacki Weaver, Nicole Kidman.
Sweetwater / U.S.A. (Directors: Logan Miller, Noah Miller, Screenwriter: Andrew McKenzie) — In the late 1800s, a fanatical religious leader, a renegade Sheriff, and a former prostitute collide in a blood triangle on the rugged plains of the New Mexico Territory. Cast: Ed Harris, January Jones, Jason Isaacs, Eduardo Noriega, Steven Rude, Amy Madigan.
Top of the Lake / Australia, New Zealand (Directors: Jane Campion, Garth Davis, Screenwriters: Jane Campion, Gerard Lee) — A 12-year-old girl stands chest deep in a frozen lake. She is five months pregnant, and won't say who the father is. Then she disappears. So begins a haunting mystery that consumes a community. Cast: Elisabeth Moss, Holly Hunter, Peter Mullan, David Wenham. This six-hour film will screen once during the Festival.
Two Mothers / Australia, France (Director: Anne Fontaine, Screenwriter: Christopher Hampton) — This gripping tale of love, lust and the power of friendship charts the unconventional and passionate affairs of two lifelong friends who fall in love with each other’s sons. Cast: Naomi Watts, Robin Wright, Xavier Samuel, James Frechevile.
Very Good Girls / U.S.A. (Director and screenwriter: Naomi Foner) — In the long, half-naked days of a New York summer, two girls on the brink of becoming women fall for the same guy and find that life isn't as simple or safe as they had thought. Cast: Dakota Fanning, Elizabeth Olsen, Boyd Holbrook, Demi Moore, Richard Dreyfuss, Ellen Barkin.
The Way, Way Back / U.S.A. (Directors and screenwriters: Nat Faxon, Jim Rash) — Duncan, an introverted 14-year-old, comes into his own over the course of a comedic summer when he forms unlikely friendships with the gregarious manager of a rundown water park and the misfits who work there. Cast: Steve Carell, Toni Collette, Allison Janney, Sam Rockwell, Maya Rudolph, Liam James.
2013 DOCUMENTARY PREMIERES
ANITA / U.S.A. (Director: Freida Mock) — Anita Hill, an African-American woman, charges Supreme Court nominee Clarence Thomas with sexual harassment in explosive Senate hearings in 1991 – bringing sexual politics into the national consciousness and fueling 20 years of international debate on the issues.
The Crash Reel / U.S.A. (Director: Lucy Walker) — The jaw-dropping story of one unforgettable athlete, Kevin Pearce; one eye-popping sport, snowboarding; and one explosive issue, traumatic brain injury. An epic rivalry between Kevin and Shaun White culminates in a life-changing crash and a comeback story with a difference. SALT LAKE CITY GALA FILM
History of the Eagles / U.S.A. (Director: Alison Ellwood) — Using never-before-seen home movies, archival footage and new interviews with all current and former members of the Eagles, this documentary provides an intimate look into the history of the band and the legacy of their music.
Linsanity / U.S.A. (Director: Evan Leong) — Jeremy Lin came from a humble background to make an unbelievable run in the NBA. State high school champion, all-Ivy League at Harvard, undrafted by the NBA and unwanted there: his story started long before he landed on Broadway.
Pandora's Promise / U.S.A. (Director: Robert Stone) — A growing number of environmentalists are renouncing decades of antinuclear orthodoxy and have come to believe that the most feared and controversial technology known to mankind is probably our greatest hope.
Running from Crazy / U.S.A. (Director: Barbara Kopple) — Mariel Hemingway, granddaughter of Ernest Hemingway, strives for a greater understanding of her family history of suicide and mental illness. As tragedies are explored and deeply hidden secrets are revealed, Mariel searches for a way to overcome a similar fate.
Sound City / U.S.A. (Director: Dave Grohl) — Through interviews and performances with the legendary musicians and producers who worked at America's greatest unsung recording studio, Sound City, we explore the human element of music, and the lost art of analog recording in an increasingly digital world.
We Steal Secrets: The Story of WikiLeaks / U.S.A. (Director: Alex Gibney) — In 2010, WikiLeaks and its sources used the power of the Internet to usher in what was for some a new era of transparency and for others the beginnings of an information war.
When I Walk / U.S.A., Canada (Director: Jason DaSilva) — At 25, filmmaker and artist Jason DaSilva finds out he has a severe form of multiple sclerosis. This film shares his personal and grueling journey over the next seven years. Along the way, an unlikely miracle changes everything.
Which Way is the Front Line from Here? The Life and Time of Tim Hetherington / U.S.A. (Director: Sebastian Junger) — Shortly after the release of his documentary Restrepo, photographer Tim Hetherington was killed in Libya. Colleague Sebastian Junger traces Hetherington's work across the world's battlefields to reveal how he transcended the boundaries of image-making to become a luminary in his profession.
The World According to Dick Cheney / U.S.A. (Directors: R.J. Cutler, Greg Finton) — How did Dick Cheney become the single-most-powerful nonpresidential figure in American history? This multi-layered examination of Cheney's life, career, key relationships and controversial worldview features exclusive interviews with the former vice president and his closest allies.
Follow Jean on Twitter @hijean
[Photo Credit: Dale Robinette/Millennium Films]
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Now, this is dedication — despite Hurricane Sandy pounding the East Coast, New York-centric late night hosts Jimmy Fallon, David Letterman, and Andy Cohen braved the storm to present their shows to viewers in need of a laugh following the storm's devastation. (At least, those viewers that had power.) Not that they let their audiences do so — the hosts presented jokes to empty chairs, without a laugh track helping support their monologues. Below, watch Fallon's Late Night cold open and monologue, which included (naturally) a solid Grease-era John Travolta impression:
Letterman, on the other hand, took a slightly more serious approach during his Late Show monologue, pointing to the storm's ominous crawl towards the East Coast. The host told Paul Schaffer that Sandy was being called "one of the worst storms in U.S. history."
Cohen, on the other hand, during Watch What Happens Live chose to help viewers — and himself — cope with the storm's aftermath via distraction. While large portions of the city experienced blackouts, Cohen entertained those who still could tune in with best-of clips from the series and callers' questions.
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Eric Lomax's memoirs about working on the so-called 'death railway' in Thailand after he was captured by Japanese troops have been adapted into a new movie, starring the Oscar winners.
Lomax's book was published in 1995.
He died early on Monday (08Oct12).
Lomax was captured and held at at the infamous Changi jail before he was relocated to Kanchanaburi, where he worked on the railway link to Burma.
The real-life struggle was chronicled in David Lean's 1957 film The Bridge On The River Kwai.
Lomax returned to Kanchanaburi in the early 1990s to meet the interpreter who had interrogated him while he was tortured.
Andy Paterson, the producer of the film adaptation of his book, tells the BBC, "The cast and crew of The Railway Man are deeply saddened to hear of Eric Lomax's death. All our thoughts today are with his family.
"Whilst we are heartbroken that he will not be with us at the premiere, he lived long enough to see some early images from the film and to share our hopes that this new version of his story will help ensure that the men who suffered with him - and the families who had to cope with the legacy - would never be forgotten."

Who better to write a movie about two best friends than, well, two best friends? After all, no one knows the ins and your outs, ups and your downs of the dynamic quite like they do. So, it made sense for Will McCormack and his best friend of 13 years, Rashida Jones, to team up and write Celeste and Jesse Forever, a deeply personal indie romantic dramedy about friends and the trials and tribulations about love and heartache in your thirties. As McCormack explained to Hollywood.com during an interview, on why they made this movie in particular. "All we do is talk about relationships and love and heartbreak, we decided we need to write a movie [about it]."
As much as the titular Celeste (played by Jones herself) and Jesse (an against-type Andy Samberg) mirror their real-life connection ("We know each other so well, we finish each others sentences, we're like brother and sister," McCormack says fondly of his writing partner) the on-screen duo's story is a much more complicated one. As Jones explained during an interview on The Daily Show, she and McCormack very briefly dated and amicably decided on friendship, but in the film, Celeste and Jesse are separated childhood sweethearts who are trying to navigate the tricky, complicated waters of love, loss, friendship, and heartache in your thirties.
While Celeste and Jesse try to cope and deal with drifting apart, the experience of writing the film, did the exact opposite for McCormack and Jones. "[Writing] Celeste and Jesse Forever was a pretty, sorry to be corny, enchanted experience," McCormack (pictured left, in a scene from the film) says, "It was a very bonding time. We both had a lot of fear about being professional screenwriters, so we were able to sort of hold each others hands and I think it was such a formative thing in our friendship. We really supported each other and were encouraging. It made us closer as friends."
It was an experience that was an important one on many levels for McCormack (who, like Jones comes from a Hollywood family, as his sister is actress Mary McCormack), perhaps best known for his work on the small screen on series such as Brothers &amp; Sisters and In Plain Sight. "I wanted to be a writer my whole life and when I was little everyone thought I was going to be a writer. Then I went to college and started acting and I really loved it and writing just felt so hard and I felt scared showing people my writing," he admits, "Then I got older and I got sick of talking about it and it really happened organically.... Now I'm addicted and obsessed and can't stop, but it took forever." (In fact, McCormack's writing partnership with Jones went so smoothly, the two worked together again to write a pilot and a film based on a comic book she created called Frenemy of the State.)
Of course, it's one thing to write a movie with your best friend, it's another entirely to get it made and get the right people on board to make your labor of love a reality. McCormack, who has a supporting role in the film playing a stoner buddy named Skillz ("It's totally an L.A. person. I have two friends in LA whose names are Skills, but we added the 'z'. We took artistic liberty," he jokes), notes that Celeste and Jesse Forever, like so many indies, took some time to get off the ground. "It took four years to get the financing, but it was really worth it," McCormack says of Celeste and Jesse Forever, which after its long road, premiered at Sundance.
While eventually they got an impressive supporting cast on board (which includes Ari Graynor, Eljiah Wood, Emma Roberts, and Chris Messina) it was getting director Lee Toland Krieger (The Vicious Kind) on board as the puzzle piece that made the collaborative film come together. Krieger, who also separately spoke with Hollywood.com about his experience being at the helm of Celeste and Jesse Forever, says that it was a mutual trust between himself, McCormack, and Jones that made the movie work, despite certain things working against them on a small budget feature in Los Angeles. ("It was challenging — and I'm not trying to slam L.A. — in that the great irony is that L.A. is not the most film-friendly place," he explains.)
"I think part of it was daunting, certainly, taking on someone else's material, but also material that is from your lead actress," Krieger (pictured, right) who read the script back in 2010, admits. "But fortunately for us, we had a lot of time in pre-production for Rashida and Will and I to get to know each other and the good part for me was, they knew this story so well and so intimately that if we ever got into a jam when we were prepping it or shooting it, or even when we were cutting it, they'd have ideas on how to fix it or if I had missed something they were very quick to say, 'No we've gotta make sure this beat lands this way.' To have that sounding board in your corner all the time it was, for me, really beneficial and kind of spoiled me. There were certainly conversations about what's best for the movie, but generally speaking, they were so great in terms of handing over the reigns and really trusting me."
Part of what helped form the bond early on, not only as filmmakers, writers, and actors, but friends on this project Krieger explains, was the music. (Celeste and Jesse Forever is scored by Jones' nephew Sunny Levine and his musical partner Zach Cowie.) "Before we got started, Rashida, Will, and I would make each other mixes. We would end up getting together a few days later and saying, 'Oh, I love this song from the mix, but I don't know if this one's really right for the movie' so we started to really know one another through the mix process, he says. "Rashida, for obvious reasons coming from such a musical family, but Will, too. We really got to know each other and get on the same page for what the movie should really sound like. We were always determined, Rashida in particular, to make sure it didn't sound like another indie movie. We really wanted to give it, for lack of a better description, a soulful energy."
So with Krieger, Jones, and McCormack were all on the same page for the overall feel of their film ("I think Lee really understood the tone of the movie. The first time we met with him he was talking about When Harry Met Sally and Husbands and Wives and all these movies that we, of course, aspire to be like," McCormack says) but what about the other half of Celeste and Jesse Forever: Andy Samberg? The Saturday Night Live vet, who is also a longtime friend of Jones' ("They have sort of a built-in intimacy that we have as well," McCormack says of their relationship) seemed to surprise everyone by switching gears from comedy goofball to serious actor.
McCormack admits, "I was not sure [about Andy] and then he read it and I was like, 'Oh my god, he's amazing.' Because he's never done anything like this and he was confident. He read the script and was like, 'I got this' and we all knew he had that somewhere in him, but you never know until you see it." Krieger, who thinks Samberg could bounce between comedy and drama throughout his career in the vein of Robin Williams and Adam Sandler, says of his leading man, "He's just a guy who was so tailor-made for this part. Who else, physically, is better to play the 30-year-old man boy? But then you meet Andy and he's so sweet and there's this vulnerability that eminates from him all the time and this accesability and I think that was critical for Jesse."
In the film Jesse is, perhaps, the most vulnerable of the pair, or at least the one early on most expressive of their pain from their split. But whether people find themselves relating more to Jones' Celetse's stoic, stubborn nature or Samberg's Jesse's hangdog wearing-his-heartbreak-on-his-sleeve, the universal themes in the film seem to be touching a nerve. "For me, the worst [breakups] weren't the ugly ones where we were screaming at each other, but the ones where you just feel like your heart got crushed and there's nothing you can do about it," Krieger admits.
It's a sentiment that's been resonating with those who have seen the film, something of a bittersweet accomplishment for McCormack. "I've had people come up to me sobbing about their love life and it feels... sort of good? Because you're like, 'I know, I'm with you, it's really hard!' People come up to us and tell us, 'You wrote our story'....It is a traumatic thing, to think your life is going to go a certain way and then it doesn't. You're like, 'Oh shit, what do I do?' .... I think people who love it seem to appreciate that we were honest about heartache."
Celeste and Jesse Forever is currently playing in select theaters in New York City and Los Angeles.
[Photo credit: McCormack: David Lazenberg/Sony Pictures Classic; Krieger: WENN.com]
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Today was a big day for many Americans because the Supreme Court announced that it has decided to uphold President Obama's health care overhaul, requiring most Americans to obtain health insurance starting in 2014.
This is a huge change in policy that Americans will be forced to deal with and, as you can imagine, some are more happy about it than others. While some tend to use humor as a defense mechanism, others cope in more...flavorful way....especially on Twitter.
Check out the array of tweets from several celebs and political figures to see where they stand on the matter.
Leading Up To the Decision (because these were just too great not to include):
Bill Maher: "#Obamacare?: If u have an STD or a sick kid I'd got to doctor now, cuz after Supremes rule this week its nothin' but freedom." @billmaher
Andy Borowitz: "Tomorrow, nine people who get free government healthcare will let us know what the rest of us get." @BorowitzReport
After the Decision:
Michael Moore: "The right wing has just had their worst smackdown since the day O was elected. The path of history continues to head toward univ health care." @MMFlint
Raising Hope star Martha Plimpton: "YES. Rationality wins the day, finally! ?#HealthJustice? ?#SCOTUS? ?#ACAStays" @MarthaPlimpton
Sarah Palin: "Obama lied to the American people. Again. He said it wasn't a tax. Obama lies; freedom dies." @SarahPalinUSA
Dave Rubin: "Only in America would so many overweight, diabetic people with heart disease be upset that they're gonna have healthcare." @RubinReport
Philip DeFranco: "To all of you saying you're going to move to Canada bc ?#Obamacare? was upheld….um..they have..universal health..um…actually nvm." @PhillyD
Rick Reilly: "This is weird: CNN got its Obamacare Supreme Court story from Rob Lowe." @ReillyRick
Michele Bachmann: "I'm disappointed ?#SCOTUS? thinks gov't knows better than people. I won't stop fighting ?#Obamacare? until is full repeal. RT if you're with me." @TeamBachmann
Wanda Sykes: "Drama at CNN. I would love to be a fly on Wolf Blizter's beard. ?#SCOTUS." @iamwandasykes
Andy Borowitz: "BREAKING ?#SCOTUS? NEWS: Scalia says the government should cover only two ?#healthcare? procedures, transvaginal ultrasounds &amp; exorcisms." @BorowitzReport
Rickey Smiley: "Healthcare bill has been upheld by the supreme court WOW." @RickeySmiley
Willard Mitt Romney: "I am outraged that the Supreme Court agrees with my past statements that the Affordable Care Act is constitutional. ?#Obamacare" @MITTROMNEY
And a great response to that would have to be this tweet....
Andy Borowitz: "Romney: 'Obamacare was a bad thing even back when it was Romneycare.'" @BorowitzReport
Obamacare
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A kids’ movie without the cheeky jokes for adults is like a big juicy BLT without the B… or the T. Madagascar 3: Europe’s Most Wanted may have a title that sounds like it was made up in a cartoon sequel laboratory but when it comes to serving up laughs just think of the film as a BLT with enough extra bacon to satisfy even the wildest of animals — or even a parent with a gaggle of tots in tow. Yes even with that whole "Afro Circus" nonsense.
It’s not often that we find exhaustively franchised films like the Madagascar set that still work after almost seven years. Despite being spun off into TV shows and Christmas specials in addition to its big screen adventures the series has not only maintained its momentum it has maintained the part we were pleasantly surprised by the first time around: great jokes.
In this third installment of the series – the trilogy-maker if you will – directing duo Eric Darnell and Tom McGrath add Conrad Vernon (director Monsters Vs. Aliens) to the helm as our trusty gang swings back into action. Alex the lion (Ben Stiller) Marty the zebra (Chris Rock) Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stuck in Africa after the hullaballoo of Madagascar 2 and they’ll do anything to get back to their beloved New York. Just a hop skip and a jump away in Monte Carlo the penguins are doing their usual greedy schtick but the zoo animals catch up with them just in time to catch the eye of the sinister animal control stickler Captain Dubois (Frances McDormand). And just like that the practically super human captain is chasing them through Monte Carlo and the rest of Europe in hopes of planting Alex’s perfectly coifed lion head on her wall of prized animals.
Luckily for pint-sized viewers Dubois’ terrifying presence is balanced out by her sheer inhuman strength uncanny guiles and Stretch Armstrong flexibility (ah the wonder of cartoons) as well as Alex’s escape plan: the New Yorkers run away with the European circus. While Dubois’ terrifying Doberman-like presence looms over the entire film a sense of levity (which is a word the kiddies might learn from Stiller’s eloquent lion) comes from the plan for salvation in which the circus animals and the zoo animals band together to revamp the circus and catch the eye of a big-time American agent. Sure the pacing throughout the first act is practically nonexistent running like a stampede through the jungle but by the time we're palling around under the big top the film finds its footing.
The visual splendor of the film (and man is there a champion size serving of it) the magnificent danger and suspense is enhanced to great effect by the addition of 3D technology – and not once is there a gratuitous beverage or desperate Crocodile Dundee knife waved in our faces to prove its worth. The caveat is that the soundtrack employs a certain infectious Katy Perry ditty at the height of the 3D spectacular so parents get ready to hear that on repeat until the leaves turn yellow.
But visual delights and adventurous zoo animals aside Madagascar 3’s real strength is in its script. With the addition of Noah Baumbach (Greenberg The Squid and the Whale) to the screenwriting team the script is infused with a heightened level of almost sarcastic gravitas – a welcome addition to the characteristically adult-friendly reference-heavy humor of the other Madagascar films. To bring the script to life Paramount enlisted three more than able actors: Vitaly the Siberian tiger (Bryan Cranston) Gia the Leopard (Jessica Chastain) and Stefano the Italian Sealion (Martin Short). With all three actors draped in European accents it might take viewers a minute to realize that the cantankerous tiger is one and the same as the man who plays an Albuquerque drug lord on Breaking Bad but that makes it that much sweeter to hear him utter slant-curse words like “Bolshevik” with his usual gusto.
Between the laughs the terror of McDormand’s Captain Dubois and the breathtaking virtual European tour the Zoosters’ accidental vacation is one worth taking. Madagascar 3 is by no means an insta-classic but it’s a perfectly suited for your Summer-at-the-movies oasis.

S4E14: Most sitcom episodes drawing on whatever time of year we're in as a theme (Halloween! Christmas! Hannukah! St. Patty's Day! Arbor Day!) usually fall flat for me. That said, I'm not sure Parks and Recreation has ever missed a beat for me when they've tackled the holidays. So when I realized the show was dabbling in the most romantic of days, Valentine's Day...well, my heart was aflutter. I do love the show, after all. Thankfully, they didn't break my heart, tonight's episode "Operation Ann" delivering on the laughs.
"Ann's not totally hideous, why does she need our help?" - April
February 13. Gal-entine's Day. The day where all the lady's can share their stories and hug it out. This year, most everyone in Leslie's life has a significant other—including herself. But for the first time in recent memory, Ann is sing and, frankly, not dealing with it well.
In an effort to cheer up her BFF, Leslie tasks everyone in the office with finding an eligible bachelor to bring along to the Valentine's mixer, as a potential hook-up for Ann. The results are as disastrous as you might expect: April brings her goth friend Oren; Tom recommends himself; Jerry accidentally hires a male gigolo. Even Leslie's picks are lackluster—Jeff, for instance, had to admit his sister was more beautiful than Ann. But in true Knope spirit, there was no resting until a suitor could be found.
Although earlier this season I was dying to get to the actual Knope 2012 election, after three episodes of solid campaigning, I am happy to see Parks take a break in favor of a little character TLC. I think the show is at its best when it's peppering its scenes with non-regular Pawnee citizens, and all of Ann's potential dating options were hilarious. A goofy episode, sure, but a welcome change of pace.
"Did you try f***?" - Ron
There's no surprise that celebrating Valentine's Day with Leslie Knope is not your run-of-the-mill romantic celebration, and Ben gets a full serving of crazed holiday traditions when he's sent on a V-Day scavenger hunt. With the help of Andy and Ron, Ben cracks the code of a cryptex ("from The Da Vinci Code, the first movie we watched on Starz HD), which sends the trio down a rabbit hole of riddles, a race across every familiar location in town. From the gay bar The Bump to J.J.'s Diner to a Snowglobe museum (which included a sweet cameo from Adam Scott's Party Down co-star Martin Starr!), the gents sweep Pawnee to find the final clue leading Ben to his epic date. The real winner of the chase? Ron. Boy, does he love riddles. Like a lot.
This episode more than others is a fury of jokes, almost all of them killing. Whether Ron is suffocating from enjoyment, Andy's picking up sticks that look like deer or the writers are throwing us Party Down fans a nice inside curveball, the show is sharp and on fire. One of the funnier half hours of the new year.
"Millicent Gergrich has literally torn my heart from my body, and replaced it with a thick slab of sadness. I may never smile again." - Chris
In last week's episode "Bowling for Votes," we saw Chris have his heartbroken by Jerry's daughter Millicent, and now Valentine's Day is slowly destroying the generally-chipper man. To cope, Chris volunteers to DJ the Valentine's social (plus he doesn't think Tom's recommendation of a DJ who wants to get everyone "wet with sound" is appropriate), and spends a majority of the mixer moping and playing music from the end of a movie where a monk kills himself. Not that danceable. But as Leslie notices as the night tapers off, Chris mysteriously slips away...
"How is your night unfolding? In terms of the conversations you're having with men." - Leslie
Realizing she doesn't have much of a chance, Ann takes off the from the dance, followed intently by a suspicious Leslie. Is her best friend sneaking away for a date? And with who? Could it be Chris!?
Putting two and two together (albeit against the discouraging words of April, who finally appears to be looking out for Ann), Leslie takes off to meet Ben at the final location (Lil' Sebastian's grave, how romantic!), then tracks Ann at her romantic rendezvous. The goal is to catch Chris and Ann in the act, an inner-office relationship Leslie and Ben can rub in Chris' face, but what they do find is even more shocking. Ann...and Tom...on a date.... April catches up with the two Peeping Tom's to clue them in. April set them up it seems, as Tom was really the only guy making Ann smile—so why not?
The episode concludes with Ann and Tom making small talk ("Go back to my place and snuggle up like little bunnies?" "No."), but what we have here might be potential for a new arc, a ripe Tom/Ann romance ready to blossom. Does our favorite loud-mouth and Pawnee's resident nurse/Parks Dept part-timer have a future, or is this going to fizzle out like the rest of Ann and Tom's relationships?
I'm crossing my fingers that love's in the air.

The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.